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Origami
1. Origami
Unit Code PG02
Project Cross Specialism Collaboration
Project Advisors Liz Friedman, Peter Smith
Group Members Li Lian Lim, Nurdan Kocasoy,
Andreas Achilleos, Giancarlo Carrozza, Juan Paredes
A Moment In Time Submission Date 28/11/2011
A British Museum Proposal
2. Origami To create a space disseminating the topic of origami.
To choose a momentous time in origami history
Exhibition Objective as a key educational exhibition subject.
To accommodate a widespread of visitors from
demographical age group of 7 and beyond.
Incite curiosity in visitors from one discovery to another
in the exhibition subject matter.
Enable the subject exploration in both linear and
unmethodical narrative order.
Effective communication engaging visitors through
various informational means.
To address the practicality and technological concerns
in an exhibition content.
3. Origami The absolute origins of origami has always been vague
and unknown, in many ways mystifying in nature.
The oldest unequivocal documentation of origami
Brief Background is a short poem composed by Ihara Saikaku in 1680.
“Rosei-ga yume-no cho-wa orisue”
The butterflies in Rosei’s dream would be origami.
Here Ihara referred to an origami model called “Ocho
Mecho” (Male and Female Butterflies) as “Orisue”,
where the Japanese would used it to wrap sake bottles
mainly at the wedding ceremony. The other evidential
depiction and usage of origami was found in the samurai
mannerism class passed down, kimono patterns, and
recreational origami.
4. Brief Background... It wasn’t until in the 1950’s and 1960’s that the new
wave of origami popularization was brought about by
an international origami circle of creators and folders
such as Akira Yoshizawa, Toshie Takahama, Isao Honda,
Robert Harbin, and so forth.
Akira Yoshizawa was such a figure in this modernisation
of origami and was described as “far and away the
greatest folder in the world, devoted to this delicate
and gentle art form to an extent which it is hardly
possible to believe”.
It was from this point of reference in space and time
that the art of origami changed exponentially and
forever eternalised.
5. Origami The exhibition takes the master paperfolder Akira
Yoshizawa as a point of reference in history unfolding
the story of origami. It came from an inspiration of
Exhibition Concept a young Akira exploring a fantasy realm of origami.
The exhibition takes visitors on a journey from the land,
sky, space and planet as they unfold the subject of origami.
The respective sequential sections of the exhibition can be
divided into four: brief history of origami, the art of paper
making, mathematics and science in origami, and the art
and design of origami.
Exhibition Title Once upon a time,
UnFold
the sky was white…
Conceptual Title diamonds filled the space…
A Tale of Origami
and every soul is art…
6. Artistic Visualisation The exhibition subject can be divided into 4 subcategories
& Story Narration and story telling sub-scenarios, which are:
Part 1: Origami Introduction
Once upon a time,
Part 2: The Art of Paper Making
the sky was white…
Part 3: Mathematical and Science in Origami
diamonds filled the space…
Part 4: Art and Design Techniques in Origami
and every soul is art…
8. Artistic Visualisation Part 1: Origami Introduction
& Story Narration...
Once upon a time,
little Akira discovered a mystical land of paper…
Paper butterflies are the earliest recorded origami form.
Among the other earliest forms of origami are the crane,
swan, and simple florals.
These items are incorporated to illustrate a scenery
whereby the flow of information matches the introductory
Story Depiction content of origami.
A swan on a lake with
flowers and butterflies
by the land.
9. Artistic Visualisation Part 2: The Art of Paper Making
& Story Narration...
the sky was white…
As part of the narrative content, the pegasus and
mountain surfaces are used to showcase the various
artistic, quality paper surfaces and methods employed
in the making of different origami forms.
Story Depiction
A pegasus flying in the sky
with surface elevations of
a mountain.
10. Artistic Visualisation Part 3: Mathematical and Science in Origami
& Story Narration...
diamonds filled the space…
The intricate geometrical shapes characterised as planets
are used to describe the mathematical equations and
scientific constructions employed in the modern origami.
Story Depiction
Geometrical planets in space.
11. Artistic Visualisation Part 4: Art and Design Techniques in Origami
& Story Narration...
and every soul is art…
The different origami models are used to describe the
technical and artistic handlings in origami paper folding.
Story Depiction
Different living beings on
an unknown planet.
12. Exhibition Identity The main graphic system is taken from the identity
& Graphic System created, where its main construction is derived from 45,
and 90 degree angles on an equal angled square, the basic
origami paper shape. This basic construction is then taken
further in 3 dimensional perspectives as additional scenic
graphic portraitures in the sub-categorical exhibition/
literature content.
Colour Palette:
The main colour used in the exhibition is white/coulourless,
true to the original paper form. Whereas the secondary
colour palette is a representation of the sub-categorical
narrative of the exhibition content. The colours are
chosen to enhance the exhibition content in a minimalistic
manner, as are coloured origami papers are used to liven
up the paper objects.
14. Primary & Secondary Custom Origami Typeface
Typefaces
Black Condensed
Frutiger 45 Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789
Frutiger 45 Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789
Frutiger 55 Roman
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789
Primary Typeface
Frutiger 55 Roman Italic
Custom construction based
ABCDEFGHIJKLMNOPQRSTUVWXYZ
on the basic 45 and 90 degree
0123456789
angles from an origami paper.
These angles represent the
Frutiger 65 Bold
first 2 angular folds in the
ABCDEFGHIJKLMNOPQRSTUVWXYZ
paper making technique.
0123456789
Secondary Typeface
Frutiger 65 Bold Italic
Frutiger
ABCDEFGHIJKLMNOPQRSTUVWXYZ
0123456789
15. Layout & Design Invitation Card & Admission Ticket:
www.britishmuseum.org
1234567891000000000
A Tale of Origami
6 March 2012 – 30 September 2012
THU 17-NOV-11 19:00
Ticket No. 111111111111111
PRICE 0.00
24. Exhibition Design... Exhibition space itself is thought as an exhibition object,
like a huge piece of folded origami paper which welcomes
the visitors from the entrance, , directs them to the core of
the exhibition and accompanies them all the way through
to the exit during their visits.
Screen area is a multi-fuctional space dedicated to lms,
documentaries, talks and workshops to engage the visi-
tors curiosity, and exploration, moving from one discovery
to another
The space provides an opportunity to connect with the
visitors and led to discovery of the topic.
25. Exhibition Design... Exhibition Plan:
Once upon a time
text panel The sky was white
text panel
Workshop area
Display screen
Once upon a time Projection wall Projection wall
The sky was white
Akira’s face Projection wall
origami
Entrance Exit
Every soul is art Diamonds filled the space
Diamonds filled the space
text panel
Introduction Every soul is art
panel text panel
Exhibition title
Projection wall
39. Exhibition Design... Information Kiosk with Touch Screen and Radio-Frequency
Identification Technology:
Visitors will be given step by step video tutorials on folding
some origami pieces.
By following the instructions on the touch screen they can
select a figure, access information, watch the videos and
store them by touching their tickets on sensor point on the
information kiosk.
The kiosk will then automatically store the info and video
instruction chosen.Visitors can access the stored contents
from British Museum website after their visit.
40. Exhibition Design... Information Kiosk with Touch Screen and Radio-Frequency
Identification Technology: Content Design
David Mitchell's Alternative
Alpha Prism is a three module
version of the Alpha Prism de-
There are many 3-part cubes in
macro-module. Each of the the origami literature but this
edges between the square design by David Mitchell is
faces is provided with both a unusual because of the way
- the surface of the cube is di-
ing the need for joining pieces. vided among the modules.
While each of the visible faces
David Brill's Waterbombic Do- is divided into two areas of dif-
decahedron is a decorative ferent colours, each of the
rhombic dodecahedron made hidden faces is homogeneous,
from three interwoven mod- with the result that the cube
ules arranged in a borromean
relationship (so that while no viewed from the opposite
two of the loops are linked the angle.
design cannot be dissassem-
bled without taking at least
one of the loops apart).
Watch the video... Watch the video...
Robert Neale's Magic Star (also
known as the Frisbee or Ninja
Star) is a uniquely wonderful
Please select an object... Save the video... Save the video... modular design. Despite the
fact that the design of the
modules is extremely simple
the rotor can be opened up (in
stages) until it becomes an oc-
tagonal ring. In both these
forms, and at each stage in be-
tween, the design remains
stable.
Watch the video...
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shm
Save the video...
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A Tale 2012 – 3
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Show your ticket barcode to the grey area below this screen...
Save the video...
Save the video...
41. Exhibition Design... Information Kiosk with Touch Screen and Radio-Frequency
Identification Technology: Ticket Storing Function
